Love Song Research Articles

Body and Soul: Redefining Aging in T. S. Eliot’sand W. B. Yea

This paper aims to compare T. S. Eliot’s “The Love Song of J. Alfred Prufrock” (1917) and W. B. Yeats’s “Sailing to Byzantium” (1927) by focusing on aging. Theological/philosophical perspectives connecting aging to wisdom prevailed in the Middle Ages and pre-modern periods. However, beginning from the nineteenth century and prevailing in the twentieth, the changed perspective of equating aging to the body replaced the previous view. This study focuses on this shifted sociocultural attitude mirrored in Eliot’s poem. In “Sailing to Byzantium,“ Yeats, in his early 60s, feeling physical aging, first leaves for the ideal Byzantium, where there is no cycle of birth, growth, and death. He leaves the decaying body and pursues the world of the soul and artistic completion symbolized by Byzantium, but eventually realizes that neither art nor the soul can exist by itself. The poet concludes that humans must return to this mortal body, the grieving real world, accept all the pain, and lead the body and the soul together in real life.

“Beauty in Meaning” in English Translation of Zhuang Love Songs from Variation Theory of Comparative Literature

In the process of English translation of Zhuang love songs, it is impossible to fully convey the “beauty in sound”, “beauty in form” and “beauty in meaning” of the original text. Among them, “beauty in meaning” is the most important, so we must not lose “beauty in meaning” in pursuit of “beauty in form” or “beauty in sound”. This paper will focus on the existing English versions of Zhuang love songs with love as the theme, such as Liu Sanjie’s ballads, Poya Love Songs, Liao Songs of Pingguo Zhuang etc., from the perspective of variation theory of comparative literature, to explore the “beauty in meaning” in English translation of Zhuang love songs and the translation strategies to achieve “beauty in meaning”.

A Study on the Formative Background and Influence of the Love Songs of Tsangyang Gyatso

The reincarnation system of living Buddhas in Tibetan Buddhism, as a special selection and succession mechanism based on the reincarnation theory in Buddhism, has gradually been accepted in the complex religious changes. However, in the early stage of the formation of the inheritance system, the process was not smooth due to the complicated situation. Over the centuries, there have been many victims of this system, and Tsangyang Gyatso, the sixth Dalai Lama, is one of them. Tsangyang Gyatso is known to us as a genius of writing. His poems are romantic, sincere, bold and realistic, and people often focus on the literary value of his poems. However, as Tsangyang Gyatso, whose main identity is the reincarnation of a living Buddha, his works reflect more of his perception of Buddha rather than his feelings. Most of the time, what we needs to understand is the truth in his poems rather than the depth of his love. Since the original text is in Tibetan and mixed with many Buddhist texts, many times people may like the Chinese translation of a certain text rather than the meaning of the original text. Therefore, this paper aims to analyze Tsangyang Gyatso’s historical status and the profound meaning of his writings from the perspectives of Buddhist historical background, social structure, religious belief and literary tradition.

The festival of singing love songs with fairies of the Bố Y ethnic group in Vietnam

The detailed study explores a festival of the Bố Y people in Vietnam, where fairies from the moon are invited to the earthly realm to sing serenades. The research identifies that despite the influence and homogenization of the Han culture on the language of this ethnic group, they still retain and express many traditional cultural values through the festival. This serves as evidence for the significant role of the festival in preserving cultural heritage and coping with the strong influence from the Han culture. Our aim is to provide a profound insight into the important role of the festival in cultural preservation and propose directions for policymakers to promote and conserve the cultural identity of ethnic minorities.

"Even in a Place of Sorrow, Even in a Place of Joy": Intersections of Blackness and Southernness in the Works of bell hooks and Honorée Fanonne Jeffers

ABSTRACT: bell hooks's Belonging: A Culture of Place (2009) and Honorée Fanonne Jeffers's The Love Songs of W. E. B. Du Bois (2021) exist at the intersection of southernness and Blackness, mapping the ways that the south can be a site of trauma and profound identification for the Black southerners who call it home. Both texts articulate the intense emotional experience that stems from returning to the south and offer alternative models for considering Black southern affects. These models challenge the white emotional paradigm—particularly its preoccupation with nostalgia—that dominates conversations about southern feelings. Situating these two texts within the current discourse surrounding monuments and memorials, this article highlights a non-linear engagement with history that prioritizes the felt aftermaths of slavery and the Jim Crow era in southern Black communities. In centering the complex, and often contradictory, affects that define the Black southern experience, both Belonging and The Love Songs of W. E. B. Du Bois articulate the felt forms through which Black southerners return to both the physical region and history of the south.

АШЫКТЫК ЫРЛАРЫНДАГЫ ПОРТРЕТТИК СҮРӨТТӨӨЛӨРДҮН ПОЭТИКАЛЫК МҮНӨЗҮ

There is no doubt that another large group of traditional Kyrgyz songs are songs about love. In different eras, the works of the masters of the word reflect the spirit of their time. The historical path traveled by the people has always had a lively response in the work of akyns, manaschi storytellers, critics and thinkers, reflecting their inner world.Love songs are also a genre that has spread to the masses and gained a lot of popularity. It can also be noted that over the years, the folk language has been formed as a classic example of both creativity. Love songs are created from the fullness of the inner experiences of the human soul, and it should be considered in conjunction with the historical, political and social life of the people. In their love poems, akyns (improvisers) skillfully employed a variety of 7-8 syllable models and paired phrases. Especially on their love poems, they often used portrait descriptions to express the beaty and character of women and successfully fulfilled poetic and artistic functions. Each of Barpy’s poems are dedicated to the theme of love, portrait images were aesthetically utilized within their limits.

Response to the article “Olaus Sirman runojen vertailevaa luentaa” [The comparative interpretation of Olaus Sirma’s poems] (SUSA 97, 2019)

The article communicates a possible interpretation of Olaus Sirma's pastoral poem / love song Morse faurog as a part of the European baroque literature. The folklore features of the poem--the so called rhyme anticipation and the irregularity of the metre and the rhythm--may be attributed to the literature of the baroque period as well, and the poem doesn't diverge from the baroque literary conventions. The generic inconsistency, expressed by a hesitation of the lyrical subject, was perhaps intended as a signal for the reader to understand the pastoral as an anagoge.

On Inclusion and Resurgence: The State of North American Indigenous Theatre and Performance Scholarship

Abstract: This article follows the structure of a pop song—verse, chorus, verse, chorus, bridge, chorus—to put into relationship scholarship on North American Indigenous theatre and performance, the current state of academia, the politics of Indigeneity, and critiques of recognition and inclusion from Indigenous Studies. Historicizing Indigenous theatre scholarship and production alongside Peter Morin and Jimmie Kilpatrick’s participatory karaoke performance, “Love Songs to End Colonization,” models disciplinary inclusion and how Indigenous performance challenges it. This essay turns to Glen Coulthard’s call for Indigenous resurgence and Dylan Robinson’s demonstration of disciplinary redress to explicate why Indigenous performance can be aesthetically and politically powerful. In singing these disparate ideas together, this essay considers the benefits and pitfalls of inclusion for Indigenous theatre into North American theatre production, scholarship, and higher education as well as issue a warning against complacent inclusion and mere celebrations of diversity. Indigenous performance asks more than theatre and performance studies often acknowledges; to engage with it robustly and productively, the field must be open to singing a song it is just beginning to learn.

고전시가 대중화 현재화의 양상과 방향 탐색

Classical poetry has become a highly challenging literary genre today, but originally, it was an art form that combined music and literature and received love from various classes of the society. Valuable efforts to popularize and update classical poetry include the following: recordings and videos of Sijochang & Gagokchang as daily Gugak by the National Gugak Center; King records’ Gagok and Gasa wonryu; Hyangga and Goryeogayo for children from Gugak FM Inc.; Synnara record’s Gyeonggi 12 Japga; various albums like Seoul Performing Arts Comapany’s “Sanwhaga”, Jeongeup Municipal Gugak Troupe’s “Sangchungok” and “Jeongeup Love Song”, and Songolmae’s “Cheoyong’s Sorrow”; music videos including Moon Sook-hee’s “Cheongsanbyeolgok”, theatrical performances like Lee Yun-taek’s “Dosolga”, and various dance and music performances in cities like Gyeongju, Buyeo, Samcheok, Ulsan, and Pohang. These are all significant contributions to the promotion and modernization of classical poetry. Unfortunately, since there was no systematic evaluation and support for the works, they were not very memorable to the public. However the film “My Love, Don’t Cross That River” (5 million viewers), the movie “Ssanghwajeom” (3.78 million viewers), and the SBS historical drama “Seodongyo” (from 2005 to 2006, viewer rating 21.4%), which used video effects effectively, were popular successes.
 The main points emphasized in this paper as part of the effort to popularize and modernize classical poetry are as follows: proactive development of related cultural heritage travel routes, the development of content that combines history and literature, the restoration and reenactment of original performances, enhancing historic, on-site, and dynamic experiences in secondary school curricula, exhibition promotion using characters and calligraphy, building archives through the establishment of classical poetry museums, and the continuous discovery and adaptation of original storytelling in classical poetry. First and foremost, scholars should establish definitive source texts in modern- language for classical poetry (especially Goryeogayo and Hyangga) included in secondary school curricula and the works targeted for popularization. Subsequently, education and explanations should not merely dwell on simple interpretations of the works but should vividly evoke history and expand literary imagination. The goal should be to convey the works in an easy and engaging manner, enabling them to resonate with the joys and sorrows of today and stand the test of time. For example, 〈Woojeokga〉, which contains the narrative of monk Youngjae’s awakening of 60 thieves, says, “The poem I wrote, let alone the group of 60 thieves/Not even a single heart was touched/So I will have to sell my computer and hide deep in the mountains” (Lee Seung-ha, 〈Woojeokga〉), Likewise, “Cheongsanbyeolgok” is transformed into a modern interpretation as “Living, living for capital, living for capital / Eating heads and legs, living for capital / Yalri-yalri yalrang-syeong yal-lari yal-lara” (from Park Nam-chul’s poem “Living for capital”), offering good examples of how classical poetry can be adapted into contemporary meaning.

MONOGRAM OF VLADIMIR KIRAKOSYAN"RUBEN SEVAK (LIFE AND WORK)"

V. Kirakosyan's scientific interests mostly include Armenian literature of the late 19th and early 20th centuries. When in 1967 he defended his Ph.D. thesis at the Institute of Literature after Manuk Abangyan on the life and work of the Western Armenian poet Ruben Sevak, who became a victim of the Genocide, only 8 years had passed since he graduated from the Department of Armenian Language and Literature of the Leninakan /Gyumri/ Pedagogical Institute. V. Kirakosyan set a task to open and comment in the artistic context of Western Armenian lyrics assessment of the literary heritage of Ruben Sevak at the turn of two centuries, noticing that the lyrical works of Ruben Sevak are contradictory, and at the same time one of the most interesting and capacious phenomena of Western Armenian literature at the beginning of the century. Trying not to break the ideological and artistic unity of the works of Sevak, Kirakosyan represents the characteristics of the general manifestations of the human, individual, social environment in the development of complex and contradictory manifestations of time, helps to perceive the seemingly complicated problems more clearly and descriptively. Vladimir Kirakosyan is endowed with a subtle sense of the poet, who presented the multi-thematic, multi-genre and multi-faceted work of Ruben Sevak so deeply and comprehensively that it became a kind of emotional bridge of poetry between the poet and the still unfamiliar reader. For Kirakosyan, the sacrament of love is evidence of the content and meaning of life. Namely this understanding of the issue gives the true shade and light to the love songs that form the core of Sevak's poetry. This approach is the reason of why the ideological and artistic unity of Sevak's works is so warmly reflected in Kirakosyan's imaginations. Trying not to violate it, the literary critic presents in the complex and contradictory manifestations of time a characteristic of the general manifestations of a person, an individual, a social environment, helps to perceive the seemingly complex problems more clearly and more obviously, without which Sevak's works would remain inaccessible and difficult phenomena. Love lyrics of Ruben Sevak by V. Kirakosyan reminds of the fairy tale of beautiful days gone. In gentle, romantic tones, the dawn of the poet's life and the legend of family happiness are depicted, which fades with the gloomy disaster that has overtaken the nation; and the beautiful narration of the bright soul is interrupted, by hands of murderers are interrupted both life, and love, and dreams... Sevak’s song on the homeland was also studied and gained significance, of the history and heroic battles of which the poet was proud, as thanks to them the nation has earned its right to live with dignity in this ancient and evil world. The literary critic Vladimir Kirakaosyan and the poet Ruben Sevak are similar in their perceptions and assessments, otherwise this successful union of song and interpretation would not have been created.

Music Reviews

Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”

Enriching the Charm of Folk Songs with Multi part Forms: A Practical Exploration of the Creation of Multi part Chorus of Qiang Folk Songs

The Qiang ethnic group is a long-standing ethnic group in China, and its historical changes, religious beliefs, customs, and customs have great research value. Qiang folk songs are a vivid display of their ethnic customs and living customs. Qiang folk songs have a rich flavor and diverse forms, including love songs, labor songs, mountain songs, wine songs, and other types. Folk song choir is an important way to inherit and promote Qiang folk songs. This article introduces the types of Qiang folk songs and creates a multi part choir to enrich the charm of folk songs with multi tone sound, in order to enable more music enthusiasts to understand Qiang folk songs and culture.

Singing through the Pain: Murat Riffing on Montaigne

In this essay, I explore how Henriette-Julie de Murat (1668–1716), during a long period of exile, creates an authorial identity intended to interact with her cousin Menou as well as her captors. By focusing on Murat’s literary relationship with Menou, I investigate how Murat’s correspondence undermines her captors’ attempts to control her expressions of desire and affection toward women. The letters—seemingly intended as a distraction from Murat’s confinement and sickness—also serve as a political statement. Through references to Montaigne’s notion of male friendship, Murat reimagines female friendship as equal to Montaigne’s theorization of homosocial bonds. Murat then weaves into her discussion of female friendship love songs replete with pastoral references in which female companionate love replaces heteronormative tropes. Murat’s correspondence reclaims agency over her expression of desire in a literary style that distracts her from the monotony of captivity and the suffering of her illness.

Loss of identity in T.S. Eliot's poems selected poems

T. S. Eliot is often regarded as one of the best writers of the 20th century. The realities and pain of modern civilization after war are embodied in his creative works dealing with the aftermath of war and loss of identity, which earn him the Nobel prize in literature. There are several poems by this author that capture the experience of the contemporary man. There are three parts to this paper. The first part of this essay discusses the life and work of T. S. Eliot, the critical acclaim that his works have received, and the prestigious literary award that he has won. In the second part, we look at what makes contemporary poetry distinct. How T. S. Eliot enhances the characteristics that current poets employ to produce their poetry. The third section is a collection of Eliot's poems that reflect on and depict modern human life and the modern man's loss of identity, including "The Hollow Man," "The Waste Land," and "The Love Song of J. Alfred Prufrock," all of which were written after World War II. The poem "Prelude," which alludes to a musical overture to a contemporary day, is a perfect example. Eliot's poetry as a whole reflects the reality and sorrow of contemporary man's identity crisis. The study's conclusion summarizes its findings, which focused on how T.S. Eliot's poetry deals with themes of identity loss, the hardship of living, and solitude in the years after World War II.

Universal interpretations of vocal music

Despite the variability of music across cultures, some types of human songs share acoustic characteristics. For example, dance songs tend to be loud and rhythmic, and lullabies tend to be quiet and melodious. Human perceptual sensitivity to the behavioral contexts of songs, based on these musical features, suggests that basic properties of music are mutually intelligible, independent of linguistic or cultural content. Whether these effects reflect universal interpretations of vocal music, however, is unclear because prior studies focus almost exclusively on English-speaking participants, a group that is not representative of humans. Here, we report shared intuitions concerning the behavioral contexts of unfamiliar songs produced in unfamiliar languages, in participants living in Internet-connected industrialized societies (n = 5,516 native speakers of 28 languages) or smaller-scale societies with limited access to global media (n = 116 native speakers of three non-English languages). Participants listened to songs randomly selected from a representative sample of human vocal music, originally used in four behavioral contexts, and rated the degree to which they believed the song was used for each context. Listeners in both industrialized and smaller-scale societies inferred the contexts of dance songs, lullabies, and healing songs, but not love songs. Within and across cohorts, inferences were mutually consistent. Further, increased linguistic or geographical proximity between listeners and singers only minimally increased the accuracy of the inferences. These results demonstrate that the behavioral contexts of three common forms of music are mutually intelligible cross-culturally and imply that musical diversity, shaped by cultural evolution, is nonetheless grounded in some universal perceptual phenomena.

Love in the Time of Hubots: Imagining Posthuman Care and Intimacy in Emma Braslavsky's "Ich bin dein Mensch: Ein Liebeslied" (2019)

Abstract: Emma Braslavsky's "Ich bin dein Mensch: Ein Liebeslied" (2019; I'm your human: A love song) explores tensions between feminist care ethics, posthumanism, and the ideal of the autonomous subject through the depiction of the relationship between Dr. Alma Felser and her "hubot" (humanoid robot) partner, Tom. The novella blurs the human/hubot boundary and challenges the natural/artificial distinction, yet it depicts anthropocentrism and what Eva Illouz has identified as the cooling of intimacy as obstacles to accepting posthuman care and love. I argue that Alma's rejection of her hubot partner stems from the problem that the notions of embodiment, vulnerability, and entanglement central to feminist care ethics and feminist understandings of posthumanism are at odds with the ideal of the autonomous subject. Ultimately, Braslavsky's novella shows that embracing posthuman feminism requires renegotiating individual identity, the meaning of love and care, and relationships with and beyond the human.

Fearful and Hesitant Modern Men in ‘The Love Song of J. Alfred Prufrock’ 1917

This paper is devoted to Eliot`s poetic critique of modern humanityin „The Love Song of J. Alfred Prufrock‟ which is one of the significantpoems written by Eliot in 1911 because of its new modern style and thetechniques that the poet adopted from various sources. It concentrateson how Eliot criticises modern humanity for instance, anti-heroism,secularism, and alienation. In addition, the study will take into accountthe illumination on how the current society has over emphasized on theissue of Michelangelo. This is a remarkable presentation of howPrufrock views the modern people and modern life as a hell similar toDante's Inferno where man cannot express his feelings or doinganything to redeem himself.

汉语歌曲中隐喻的延伸模式

Metaphors, as a significant discourse-constructing strategy, are prevalent in the Chinese language, playing a crucial role in organizing discourse through metaphorical extensions. These extension patterns manifest as semantic interactions between the source domain and target domain, as well as between different target domains, forming units of meaning larger than individual clauses. This research identifies three major types of metaphorical extension: reiterative patterns, collocative patterns, and focalizing patterns. Reiterative patterns encompass repetition, synonymy, hyponymy, and meronymy, while focalizing patterns involve one-time and two-time focalizing patterns. The study focuses on Chinese love songs to explore these metaphorical extensions. By shedding light on the textual functions of metaphors, this research can contribute to a wider and deeper understanding of metaphors and advance metaphor research.

T. S. 엘리엇의 「J. 알프레드 프루프록의 연가」와 셰익스피어의 『햄릿』: “자기와의 대화” 에 나타난 극적 독백

Prufrock compares himself to Hamlet, and then denies his importance for himself (“No! I am not a Prince, Hamlet”) and returns to his usual self-deprecation, announcing that he is not an important person through self-telling. In his own opinion, he would be a merely minor character in a play, not a protagonist, being faithful to his soliloquy. Prufrock and Hamlet inhabit a world in which something seems identical and time seems to be each common character. It seems they have the lifeless aspect of their dialogues with each monologue, developing the poetic drama. In other words, T. S. Eliot describes Prufrock’s speech as the drama like the poem and the poem like the drama. Each dialogue with the self relies on the reader’s imagination and decision to make decisions that are faithful to him, portraying the voice as a linguistic text in Hamlet of Shakespeare’s Hamlet and Prufrock from “The Love Song of J. Alfred Prufrock” two voices between ego and the split-ego which may be post-ego. The voice of self-telling expressed in these conversations is a dramatic monologue made of linguistic texts that form Hamlet’s self-image, and this is a conversation with himself that preserves tradition and individuality. In a nut shell, the monologue of self-telling is a more powerful image than anything else.

The “Beauty in Sound” and “Beauty in Form” in English Translation of Zhuang Love Songs from Variation Theory of Comparative Literature

The “Beauty in Sound” and “Beauty in Form” in English Translation of Zhuang Love Songs from Variation Theory of Comparative Literature